作者簡介    

李晟馥

　　生於1952 年， 詩作極富想像力， 層次豐富，一嚮備受注目， 榮獲「金洙暎文學奬」及「素月詩歌文學奬」。李晟馥深受卡夫卡、尼采及波德萊爾影響， 首部詩集《滾石何時醒來》中詩人充當臨床病理學傢， 剖析傢庭和社會結構， 並仔細記錄其逐漸瓦解的過程， 聯想奔放大膽， 戥破世界的虛僞、腐敗及墮落， 深深震撼讀者。李晟馥的第二本詩集《南海錦山》源於他新近對東亞古典文學的興趣， 大幅探討愛的本質。他在往後的詩集一直鑽研這個主題， 為「愛」另造新語法， 反映現代的情愛概念。詩人同時不斷求新， 倡導詩歌改革， 影響不少同期和年輕一代的詩人。

　　評論傢金玹指李晟馥的詩作「大大擴展意義的領域， 啓迪無盡的問題， 問題不單局限於個人或私人層麵， 甚至擴闊至集體及公眾的層麵。」李晟馥的詩作不斷遊走於兩個層麵，展現人生底蘊中的基本關係。

　　李晟馥於首爾大學取得法國文學學士及碩士學位， 曾任啓明大學法國文學係及創意寫作係教授。主要著作包括《滾石何時醒來》( 1980)、《南海錦山》( 1986)、《那年夏末》( 1990)、《虎狼加時樹的迴憶》( 1993)、《啊， 沒有嘴巴的東西！》( 2003)、《月兒前額的波浪紋》( 2003)、《來， 看看悲傷就是全部》( 2013)。

　　（謝小婷譯）

　　Lee Seong-bok (1952–), recipient of Kim Soo-young Literature Prize and Kim So-wol Literature Prize, has continually attracted attention to his highly imaginative and multi-layered poetry. Influenced by Kafka, Nietzsche and Baudelaire, Lee’s first volume of poetry When Do the Rolling Stones Awake shocked readers with its daring use of free association to expose the hypocrisy, corruption and perversity of this world. In this volume, the poet occupies the place of a clinical pathologist who dissects familial and social structures, and meticulously records their gradual disintegration. His second book Mt. Geum, Nahmae, shaped by the poet’s new interest in the East Asian classical literature, largely deals with the question of love’s essence. The subject continues to engross Lee in subsequent volumes as well, and he creates an alternative grammar of love to the modern notion of romance. Driven by a spirit of innovation, Lee heralds a poetic revolution that influences both his contemporaries and younger generation of poets.

　　The critic Kim Hyoun has said of Lee Seong-bok’s poetry that “it vastly expands its sphere of meaning to permit endless questions to be raised, not only on an individual or private level, but on the collective and public one as well.” Moving unceasingly between binary categories, Lee’s poetry thus brings into view the fundamental relation that lies beneath human life.

　　Lee earned both his undergraduate and graduate degrees in French literature from the Seoul National University. He worked as Professor of French literature and creative writing at the Keimyung University.

　　His major works include When Do the Rolling Stones Awake (Dwingguneun Dol-eun Eonje Jam Kkaeneunga, 1980), South Sea, Silk Mountain (Namhae Geumsan, 1986), End of That Summer (Geu Yeoreum-ui Kkeut, 1990), Memories of the Holly (Horanggasinamu-ui Gieok, 1993), Oh, Those without Mouths (A, Ib-I Eomneun Geotdeul, 2003), Ripple Patterns on the Moon’s Forehead (Dal-ui Ima-eneun Mulgyeolmunui Jaguk, 2003), Came, and Saw Sorrow Was All
(Rae Yeo Ae Ban Da Ra, 2013).
 

歲月的褶皺，記憶的斷層

任何事物都無法替換的日子流過
河水流嚮天空的時候
陽光碎在節日打糕米裏的時候
我們之所以痛苦 是因為生活
熱愛我們

任何事物都無法替換的日子流過
流淌的迷霧嚮亞麻布一樣纏住身體的時候
馱著貨物的馬的後退比人腿更美麗的時候
如果覺得生活可憐 那麼我們
隻能被束縛在那裏

(薛舟譯)

the folding of time, the dislocation of memory

the days we wouldn’t trade for anything have flowed by
when the river flows skyward,
when sunbeams are mashed into the rice for the holiday ttok,
the reason we’re sick is that
life loves us

the days we wouldn’t trade for anything have flowed by
when like linen the flowing fog enwraps our bodies,
when the hind legs of a horse, a load on its back, seem more
beautiful than human legs
even if we feel sorry for life we have no choice
but to be tied to it

(Translated by Hye-jin Juhn Sidney & George Sidney)